1. Alexander Kluge: Die Macht der Gefühle - Diagonal Thoughts
The theme of Carmen doesn't accidentally recall Prénom Carmen (1983), a film for which Miéville herself provided the screenplay to Jean-Luc Godard, her ...
17 – 19 DECEMBER, 2018. STUK LEUVEN / CINEMATEK BRUSSELS. Curated by Stoffel Debuysere.
2. The Power of Emotion: The Apartment - Katie Brook
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The Power of Emotion comes out of several years of conversations between Katie Brook and Shonni Enelow about acting and emotion in historical and contemporary theater. We are both former actors, and both interested in the ways emotion on the stage can be variously subversive and normative. Shonni's book Method Acting and Its Discontents: On American Psycho-drama was one focal point of our discussions. The project first took form with an adaptation of Richard Boleslavsky’s 1933 acting manual, Acting: The First Six Lessons (NYU-ETW, 2013). Following this production, we named the project The Power of Emotion, taking the title from Alexander Kluge’s experimental 1983 film Die Macht der Gefühle.
3. [PDF] On Alexander Kluge's Collage Film The Power of Emotion
May 31, 2024 · I thank Alexander Kluge for his kind permission to reproduce screenshots from Die Macht der. Gefühle [The Power of Emotion], West Germany 1983, ...
4. Phantoms of italian opera-cultural memory in italian and (west ...
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Just as music in film crosses media borders, music as an art form has always transcended national borders. This comparative study of cultural memory and national identity examines Italian and (West) German films from the second half of the twentieth century. Common to these films is the presence on the soundtrack of Italian opera, especially Giuseppe Verdi. Analyses of Bernardo Bertolucci’s La luna (1979, The moon), Werner Herzog’s Fitzcarraldo (1981), and Alexander Kluge’s Die Macht der Gefühle (1983, The power of emotion) provide a contemporary perspective on Verdi’s reception history as embodied in these films. In foregrounding the artifice of opera, they ironize any unquestioning celebration of Verdi as the politically resonant voice of Italy. What emerges is the operation of an iridescent cultural memory within an opera and film nexus.
5. The Stubborn Persistence of Alexander Kluge
Between 1966 and 1983 he directed some twenty films, of which about six have remained in active memory: YESTERDAY GIRL (1966), ARTISTS UNDER THE BIG TOP: ...
As a film-maker with a modest but loyal transatlantic following, Alexander Kluge’s oeuvre and career are markedly different from those of other European directors venerated by cinephiles.1 Celebrating his eightieth birthday, he belongs to the same generation as Jean-Luc Godard, Jean Marie Straub and Theo Angelopoulos, but trained as a lawyer before making his first film in 1960. In Germany, he is equally if not more famous as a short story writer and the author of several volumes of sociology. To film historians, he is the legal brain and policy-shaper behind the New German Cinema of the 1960s and 1970s, having been the driving force behind the famous Oberhausen Manifesto of 1962 and the government film-funding legislation that followed.2 In 1964 he co-founded West Germany’s first film school (at the Ulm Institute for Design) and in 1972 he published, in his capacity as professor of sociology at the University of Frankfurt, a book with Oskar Negt which became a classic for the student generation of 1968, Public Sphere and Experience, a radicalised rejoinder to Jürgen Habermas’s equally classic 1962 The Structural Transformation of the Public Sphere. Co-author of other critical and political analyses, including a book-length study of the European film industry, Kluge remained, for more than two decades, the undisputed master strategist of the parliamentary lobby and the chief architect of a state film-subsidy system based around the concept of the Autorenfilm (auteur film) – b...
6. Phantoms of italian opera - cultural memory in italian and (west ...
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Just as music in film crosses media borders, music as an art form has always transcended national borders. This comparative study of cultural memory and national identity examines Italian and (West) German films from the second half of the twentieth century. Common to these films is the presence on the soundtrack of Italian opera, especially Giuseppe Verdi. Analyses of Bernardo Bertolucci’s La luna (1979, The moon), Werner Herzog’s Fitzcarraldo (1981), and Alexander Kluge’s Die Macht der Gefühle (1983, The power of emotion) provide a contemporary perspective on Verdi’s reception history as embodied in these films. In foregrounding the artifice of opera, they ironize any unquestioning celebration of Verdi as the politically resonant voice of Italy. What emerges is the operation of an iridescent cultural memory within an opera and film nexus.
7. Phantoms of Italian Opera—Cultural Memory in Italian and (West) German
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Just as music in film crosses media borders, music as an art form has always transcended national borders. This comparative study of cultural memory and
8. Documentary Film and Architectural Ruins in Brutality in Stone
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Peer reviewed
9. 2016 - floating world
Dec 31, 2016 · Die Macht der Gefühle/The Power of Emotion (1983) - Alexander Kluge ... theme. Then I find out that Old Stone's executive producer Nai An ...
film review, film criticism, interview, art, music, film directors, artists, musicians, culture, photography, short stories, fiction, essays
10. Christa Blümlinger · The history of cinema, as experience (2015)
In many of Kluge's features, such as Germany in Autumn (Deutschland im Herbst, 1978) or The Power of Emotion (Die Macht der Gefühle, 1983), the audiovisual ...
The history of cinema, as experience christa BlümlingerFilm as metahistory In 1998 at the Cannes Film Festival, Jean-Luc Godard – having completed his Histoire(s) du cinéma project – presented a special reprint of the magazine Trafic. This included an article ...
11. Search Archive | Viennale
Die MACHT DER GEFüHLE. Alexander Kluge (BRD 1983). V'07. Johan van der Keuken ... SWEET SWEETBACK'S BAADASSSSS SONG. Melvin Van Peebles (USA 1971). V'08. Retro ...
Oct 16 - 28 '25
12. Catalog Listing | Arts & Sciences Computing Media Library
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13. Remediating Opera: Media and Musical Drama in Adorno and Kluge
In his early music criticism for Der Anbruch, Die Musik, and other music- ... Thus, in a scene in the film Die Macht der Gefühle,. Kluge notes of Elina ...
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14. Page 24 – some notes on seeing and being, sound ... - Diagonal Thoughts
... soundtrack of pop songs. Originally titled Mildered Owens: Toward ... On the occasion of the screening of Die Macht der Gefühle (Alexander Kluge ...
In the context of Courtisane Festival 2019 (Gent, 3 – 7 April 2019). Curated by Stoffel Debuysere
15. Der große Verhau - | Berlinale | Archiv | Programm | Programm
Den zeitgemäßen Soundtrack liefern die Krautrocker von Amon Düül II. Wie ... 1983 Krieg und Frieden (War and Peace); Co-Regie Stefan Aust, Axel ...
Internationale Filmfestspiele Berlin - Offizielle Website
16. Mese: novembre 2018 - UmberTimes
Nov 30, 2018 · TFF 2018: Die macht der gefühle. 30 novembre 2018. tff1. Tempo di lettura: 2 min “Die Macht der Gefühle” (in italiano “il potere dei sentimenti ...
30 novembre 2018
17. Alexander Kluge - Cinebel
Soundtrack to a Coup d'Etat, Stalker, Superluna, Tatami, Tax Wars, Terrifier 3, The ... Titre original : Die Macht der Gefühle Année de production : 1983; L ...
Biographie de Alexander Kluge
